Canon XL H1 HD Video Camcorder
Canon’s XL1 and XL2 are well known to thousands of video pros around the globe doing everything from weddings and special events to broadcast TV. The combination of Canon optics and a distinctive handson user interface have helped cultivate a loyal following for these DV format camcorders. Hence, it was a no-brainer for Canon to create a migration pathway to HD which builds on the strengths of their signature XL camcorder line. Those familiar with the XL series will quickly find themselves at home, and at ease with Canon’s latest XL, the XL H1 HD camcorder.
Description
For starters, the XL H1 uses three 16:9 CCDs, each with a resolution of 1,440 x 1,080 pixels. Natively, it records 1080i (interlaced), and also 24f and 30f (Canon’s version of 24p and 30p). The H1 can also output uncompressed HD from the camera head via an HD SDI output. The HD SDI output is the lynchpin of the H1’s ‘jackpack’ which also includes genlock, plus time code in and out, all of which bolster its utility for multi-camera live, or ‘look-live’, applications.
The H1 has a full menu of parameters which can be adjusted to achieve a wide assortment of ‘looks’ ranging from the classic ‘video look’ to an assortment of film looks. For the latter, Canon includes several preset cine or film options in the color matrix and gamma curves, (two each). These presets make it feasible to achieve a filmlike look quickly and easily, without needing to be a video engineer. Utilizing the 24- and 30-frame progressive options further enhances the film look. A total of six custom looks can be stored in camera memory and up to 20 on the memory card, making it feasible and convenient to achieve compatible looks when shooting interviews or live events, even if weeks or months apart.
The XL H1 also comes with another trademark of XL camcorders, a long Canon lens. The H1’s lens is extra long and has a 20x zoom ratio. Fully extended, it is equivalent to a 770-mm lens on a 35-mm still camera. Moreover, it is a bona fide HD lens, meaning that it has very high optical quality, with minimal imperfections. It is designed to minimize potential spherical and chromatic aberrations which could be even more pronounced in HD. It also comes with Canon’s Super Range Optical Image Stabilization System, which minimizes lens shake even at full telephoto on a tripod and enables using medium plus wide focal lengths for handheld shots.
Another notable feature of the XL H1 is that it wears many of its virtues on its sleeve — i.e., on the outside. To avoid burying some of the H1’s more useful features in the menu, Canon put them on the outside to make them more accessible. This includes choices like HD or SD mode, and if SD, whether in the 16:9 or 4:3 aspect ratio. Whether shooting HD or SD, it is feasible to choose among three frame modes: 60i, 30p or 24p, at the turn of a switch.
Color balance options include daylight, tungsten, or two custom white balance readings stored in memory. Gain levels from -3 dB to +18 dB can be selected externally via an identical dial while frame rates and recording modes (HD/ SD) can also be selected with a similar dial. Shutter speed can be changed by an outside switch. A fader, with black and white options is also switch-activated.
The XL H1 is also designed with good audio in mind. Besides the front mike input there are two rear XLR audio jacks with switchable phantom power so that you can use the finest pro-quality microphones and wireless systems. Audio levels can be independently adjusted on each of four separate channels, manually or automatically, and can be ingested via mike or line level. A variety of audio monitoring options are available. In general, I found the audio interface familiar and easy to use. A slightly flimsy panel door did prevent accidentally changing selections on the audio panel.
At the hub of the XL H1’s side panel is the multi-mode power dial characteristic of the XL series. Besides powering the H1 on or off, it offers ten operating modes like shutter or aperture priority, full auto or manual, spotlight, night, VCR play…. Unlike prior XLs, the power-on indicator is violet, the HDV trademark. Powerwise, the H1 is easily powered by Canon 7.4 volt lithium ion batteries, which can keep it running for over two hours when fully charged.
Hands On
As a user without previous XL-series experience, my first job was learning to navigate the power dial some of which icons are not self-evident. Fortunately, full auto mode is adjacent to the off position and is a logical first choice of power mode and proved the easiest and safest to use for general recording, for novices and old pros alike. Even color balance was consistently good in auto mode under most conditions, from bright daylight to mixed low light.
While some might criticize Canon for overloading the XL H1 with dials and buttons, I found them well organized and a genuine asset. Many are organized in pairs for convenience in locating and operating by touch alone while holding the shot and keeping one’s eye on the subject in the viewfinder. This proved invaluable when shooting events where single takes often run an hour or more, and adjustments must be made without ruining the shot. I especially loved being able to shuttle between 4:3 and 16:9 (SD) modes, HD and SD at different frame rates when shooting wildlife like burros, deer, wild horses, for stock applications without losing the subject or the shot by digressing into the menu to make the adjustment. Other functions in the menu can be externalized by linking them to a pair of option keys below the H1’s handle.
An identical pair of keys trigger custom camera presets, up to six different ones including a film look, which can also be modified or used as is. In fact, other presets can be modified to emulate various film looks. I used up to three film looks and three custom video looks at a time and could compare them instantly in the viewfinder.
A key selling point of the XL H1 is lens interchangeability, while another is the HD 20X L IS lens which comes with the XL H1. At the wide angle end it is equivalent to a 38-mm (SLR) lens — not ultra wide, but adequate. The 20x can also focus to within six-inches or so, at its widest which means that you can use it in very tight situations, even if it doesn’t reveal the subject as broadly as you might like.
From my experience covering live bands, parades and other events the focal range of the 20x covers the gamut from closeups to typical wide shots pretty well. Moreover, the images were sharp and free of visible chromatic or optical aberrations. I was constantly impressed with how I could virtually touch the subject and yet remain in focus. The only time it couldn’t hold focus was when my dog licked the lens.
The XL H1’s viewfinder is also rugged and has great optics. Moreover, it operates in color and accurately reflected colors I saw with my eye. The eyepiece rotates in a 225-degree arc to enable shooting at high and low angles, from the ground and from a tripod including when the camera is above the shooter’s head. It also has several inches of lateral adjustment to satisfy those who prefer shooting with the eyecup close to the camera, as when walking, or extended several inches away from it, as when doing tracking shots or shooting from sticks. The Achilles heel of the unit I tested was that the large friction nut securing the viewfinder laterally did not snug as well as one would expect and often lost its grip while being carried and being bounced around.
Conclusion
In my estimation, the Canon XL-H1 delivers a lot of bang for the buck, despite being priced a bit higher than its competition at $8,999 list price. The combination of 1,080 x 1,440 HD CCDs with 4:2:2 sampling, and the ability to record this in HDV or output uncompressed via HD SDI for recording to superior formats is unique within its class. Excellent picture quality and the ability to adjust all key video parameters and the ability to switch among and/or match multiple ‘looks’, at the push of a button, make it an excellent choice for live event coverage for distribution on tape or DVD. This, plus a full palette of options for recording fourchannel digital audio, make it highly cost-effective as well. In my estimation, its virtues make it an HD camera bargain for under $10,000.
